GAIL E. EVANS Promoting Tourism and Development at Crater Lake The Art of Grace Russell Fountain and Mabel Russell Lowther PAINTINGS AND PHOTOGRAPHS have played a significant role in focusing public attention on certain western landscapes in North America and, ultimately, in encouraging their conservation and use as national parks. The paintings of artists such as John James Audubon (785–85) and George Catlin (796–872) initially brought public attention to scenic landscapes of the American West during the first half of the 8s. Historian Dwight Pitcaithley, among others, has attributed to Catlin the idea of parks for people and wildlife. During an 82 trip to the Dakotas, as Catlin captured images and recorded his thoughts about the value of western lands, he also mused on the idea that government might create a “magnificent park . a nation’s park, containing man and beast in all the wild and freshness of nature’s beauty.”2 During the following decades, artists, photographers, and writers advanced the national park idea with images of the Yosemite Valley, both pictorial and verbal, that appeared in popular magazines and were exhibited in the East, influencing decisions to designate Yosemite and the Mariposa Grove of Giant Sequoias as a national park, managed by the State of California. Over the first half of the twentieth century, paintings, photographs, and descriptions continued to encourage the designation of national parks and raise public awareness of those places. The work of artists such as Albert Bierstadt, Thomas Moran, Thomas Hill, and scores of other men sparked interest in setting aside scenic landscapes in national parks to OHQ vol. 116, no. 3 © 2015 Oregon Historical Society Courtesy of Judson and Diana Parsons; photographer Kelly James photographer Kelly and Diana Parsons; Courtesy of Judson This painting of Crater Lake, attributed to southern Oregon artist Grace Russell Fountain, probably dates from the 1890s. This painting helped raise public awareness of the beauty of this natural feature, located far from population centers, and contributed to the movement to conserve Crater Lake for future generations of visitors. be protected and used for public enjoyment. The nationwide movement at the turn of the twentieth century to conserve and promote culturally significant scenic landscapes that relied on male artists and writers has long been recognized and described. Recent scholarship has documented numerous ways that women con- tributed to the conservation movement at the turn of the twentieth century. Women campaigned to ban the killing of birds for feathers used in hats, were active members of outdoor hiking clubs, and helped organize and participate in a nationwide campaign to save Niagara Falls from destruction by hydroelectric development in the early 9s. Much is known about the considerable influence women exerted in various conservation crusades through organizations such as the General Federation of Women’s Clubs and its Conservation Committee as well as other clubs that fought to save the Colorado cliff dwellings, preserve the palisades of the Hudson River, prevent the destruction of forests from radical harvesting, and promote Evans, Promoting Tourism and Development at Crater Lake the beautification of cities. Women’s clubs succeeded in setting aside scenic Franconia Notch in New Hampshire’s White Mountains and creating a reserve that encompassed Mount Katahdin in Maine. Other women worked to establish Rocky Mountain National Park in Colorado, to protect northern California’s sequoia and redwood trees, and to prevent the flooding and drastic alteration of the Hetch Hetchy Valley of Yosemite National Park in the early 9s. “Propelled by a growing consciousness of the panacea of bucolic scenery and wilderness,” environmental historian Carolyn Merchant has written, “coupled with the need for reform of the squalor of the cities, women burst vividly into the public arena in the early twentieth century as a force in the progressive conservation crusade.”4 Less is known about women’s contributions to the conservation move- ment through their artistic depictions of scenic landscapes. Little attention has been given to exploring the role of women’s artwork in conserving par- ticular scenic places. In Oregon, although scholars have acknowledged that women had a “tremendous impact” on the early development of the state’s art community by participating in art exhibits at state fairs, giving art lessons, and leading art organizations, the influence of women’s landscape art on the conservation movement has not been explored.5 Several challenges have hindered the examination of women’s artistic contributions to the conservation movement. First, simply discovering the work of women artists has been extremely difficult. Both in Great Britain and the United States, “women’s works have not always had the good for- tune to survive . into the twentieth century. There has been little impetus for the conservation of women’s paintings, drawings and sculpture, or the acquisition of women’s art by national collections. Gallery-based initiatives . have often been fugitive, documented by little more than a photocopied handlist or a slender catalogue.” Although in the Northwest, “women outnumbered men as artists” during this period, “little remains of the work of the impressive numbers of earlier women artists active before 9.” 6 The challenge of discovering women’s landscape art has been further compounded by women’s frequent failure to promote their own work and their tendency to leave their work unsigned or signed with monograms, aliases, or their husband’s names. Also, women, perhaps more than men, donated their art to charitable causes or gave it to family members rather than sold it in galleries; thus, the provenance of women’s artwork became lost.7 In an early history of art and artists in Oregon, Louise Rasmussen iden- tified written documentation of only seven women artists alongside more than forty-five men artists.8 A 999 study of Oregon artists described many women who were at work in the late 8s and early 9s, their training, 2 OHQ vol. 116, no. 3 and subjects painted, yet in-depth research on individual women landscape artists in the Northwest is limited and recent.9 Finally, assessments of the value of women landscape artists’ work have been tempered by commonly held views of women’s inability to travel to plein air (French for ‘open air’) painting locations and their incompe- tence as landscape artists. Women painters of the late-nineteenth-century Victorian era sometimes faced restrictions on traveling alone into remote wilderness areas. They also were confronted with societal assumptions that they lacked the strength, technical knowledge, and training to accurately capture expansive and dynamic western landscapes on canvas. Only men could carry a cumbersome easel, canvases, paints, and brushes to remote sites for plein air painting and capture on canvas scenes characterized by rugged and virile, remote, and untamed landscapes. Well into the twentieth century, judgments about women’s artwork were cast in distinctly gendered terms. The February 27, 926, issue of the Los Angeles Evening Herald, for example, assessed the work of landscape artist Kathryn Leighton’s painting of Glacier National Park this way: “Leighton has a masculine sweep and strength to her brush and few men painters can outdo the virility of her sunbathed peaks and wind-winnowed snowfields.” As recently as 982, an art exhibit booklet that accompanied Yosemite paintings reveals this persistent, narrow view of the value of women’s landscape paintings; only one of the twenty-four artists featured was a woman. “Constance Gordon-Cumming,” wrote catalogue author Joseph Armstrong Baird, Jr., was “that marvelous embodiment of the English Victorian woman-traveler . [who] represented the English genteel-amateur with professional aspirations, which was rare in the American West.” Despite these challenges, researchers have recently shed light on a hand- ful of women landscape artists in the Pacific Northwest. According to art historian Barbara Matilsky, “the genre of landscape painting attracted early women artists in the Northwest. The wilderness as well as natural areas closer to home inspired artists such as Harriet Foster Beecher, Abby Wil- liams Hill, Eliza Barchus, Anna Gellenbeck, and Margaret Camfferman, who were captivated by the coastal and mountain light.” In the early twentieth century, the work of these plein air landscape artists not only popularized notable western landscapes, but also influenced conservation policy makers to support measures aimed at creating, protecting, and promoting public parks. In 94, Barchus recalled for Oregon Daily Journal’s Fred Lockley that she had sold “paintings of Mount Hood or of other scenic beauty spots of the West to President Theodore Roosevelt, President Woodrow Wilson,” and others who could have influenced Congressional decisions about conserva- tion policies. Kathryn Leighton was described, in the February 27, 926, issue Evans, Promoting Tourism and Development at Crater Lake 8787 Southern Oregon Historical Society, image no. no. image Society, Historical Southern Oregon Grace and Mabel Russell grew up in Ashland, Oregon, where their parents operated the Ashland Marble Works, a marble cutting and carving business. Pictured here are Grace and Mabel with their seven sisters. Standing from left to right are Dotie, Bertha, Nellie, Hortense, and Molly. Seated from left to right are Grace, Mabel, Mattie,